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ISBN 978-1-78969-527-4 ,6%1 H3GI

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Contributors ...... iii Acknowledgements ...... vi Foreword ...... vii &KLDUD%RQDFFKL

Public Archaeology for the Dark Ages ...... 1 +RZDUG:LOOLDPV ZLWK3DXOLQH&ODUNH9LFWRULD%RXQGV6DUDK%UDWWRQ$P\'XQQ-DPHV)LVK,RDQ*ULIÀWKV0HJDQ +DOO-RVHSK.HHODQ0DWWKHZ.HOO\'DYLG-DFNVRQ6WHSKDQLH0DWWKHZV0D[0RUDQ1LDPK0RUHWRQ 5REHUW1HHVRQ9LFWRULD1LFKROOV6DFKD2·&RQQRU-HVVLFD3HQDOXQD3HWHU5RVH$ELJDLO6DOW$PHOLD 6WXGKROPHDQG0DWWKHZ7KRPDV

Part 1: Dark Age Debates

Keep the Dark Ages Weird: Engaging the Many Publics of Early Medieval Archaeology ...... 20 $Q,QWHUYLHZZLWK$GULiQ0DOGRQDGR

Colouring the Dark Ages: Perceptions of Early Medieval Colour in Popular Culture ...... 31 Anne Sassin

Why do Horned Helmets still Matter? ...... 53 6DFKD2·&RQQRU

Public Archaeology of Early Medieval Assembly Places and Practices: Þingvellir ...... 59 0DWWKHZ.HOO\

Dressing for Ragnarök? Commodifying, Appropriating and Fetishising the Vikings ...... 65 0DGHOLQH:DOVK

Part 2: The Public Dark Ages

The Vikings of JORVIK: 40 Years of Reconstruction and Re-enactment ...... 76 &KULV7XFNOH\

Displaying the Dark Ages in Museums ...... 101 +RZDUG:LOOLDPV3DXOLQH&ODUNHDQG6DUDK%UDWWRQ

Where History Meets Legend: Presenting the Early Medieval Archaeology of Tintagel Castle, Cornwall ...... 114 6XVDQ*UHDQH\

Digging up the Dark Ages in Cornwall: The Tintagel Challenge and St Piran’s Oratory Experience ...... 139 -DFTXHOLQH$1RZDNRZVNLDQG-DPHV*RVVLS i Death and Memory in Fragments: Project Eliseg’s Public Archaeology ...... 172 +RZDUG:LOOLDPVDQG6X]DQQH(YDQV

Reading the Gosforth Cross: Enriching Learning through Film and Photogrammetry ...... 193 5RJHU/DQJDQG'RPLQLF3RZOHVODQG

Crafting the Early Middle Ages: Creating Synergies between Re-enactors and Archaeologists 215 $QLQWHUYLHZZLWK$GDP3DUVRQVDQG6WXDUW6WURQJ

Part 3: Dark Age Media

Archaeology in Alfred the Great (1969) and The Last Kingdom (2015-) ...... 246 9LFWRULD1LFKROOVDQG+RZDUG:LOOLDPV

‘It’s the End of the World as we Know it …’: Reforging Ragnarök through Popular Culture .....252 0DUN$+DOO

The #GreatHeathenHunt: Repton’s Public Early Medieval Archaeology ...... 268 $QLQWHUYLHZZLWK&DW-DUPDQ

Vikings and Virality ...... 286 0DWWKHZ7KRPDV

Old Norse in the Wild West: Digital Public Engagement on YouTube ...... 300 $QLQWHUYLHZZLWK-DFNVRQ&UDZIRUG

The Image Hoard: Using the Past as a Palette in Discussing the Politics of the Present ...... 320 Wulfgar the Bard

Afterword: Whose ‘Dark Ages’? ...... 347 %RQQLH(IIURV

ii Public Archaeology for the Dark Ages

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Introduction1

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Why is this project particularly timely?

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The ‘Digging into the Dark Ages’ conference

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Dark Age Debates

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In combination, the four presentations in this session afforded a sense of the wide range of fashions E\ ZKLFK HDUO\ PHGLHYDO DUFKDHRORJ\ SHUPHDWHV :HVWHUQ SRSXODU FXOWXUH :KLOH WKH ¶9LNLQJV· DUH preeminent, fantasy worlds draw their inspirations far wider, and through multiple generations of HSLFDGDSWLRQVYLD7RONLHQDQGRWKHUZULWHUVEHIRUHWKH\DUHUHQGHUHGLQYLGHRJDPHV$UFKDHRORJLFDO engagement with these genres need not focus on criticism and denouncement, but upon using ERWK VWHUHRW\SHV DQG PLVXQGHUVWDQGLQJV DV SODWIRUPV ZLWK ZKLFK WR WDFNOH QHZ DSSURDFKHV DQG LQWHUSUHWDWLRQVRIWKHDUFKDHRORJLFDOUHFRUG VHHDOVR:LOOLDPVD 

Displaying the Dark Ages

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The Digital Dark Ages

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Selling the Dark Ages

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Imagining the Dark Ages

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Welcome to the Dark Ages: From Conference to Book As with the previous two conferences, students were given the opportunity to participate as authors DQGRU HGLWRUV LQ SXEOLVKLQJ WKHLU UHVHDUFK ,Q WRWDO  VWXGHQWV RI WKH  WRRN XS WKLV RSSRUWXQLW\

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Discussion

:HKRSHWKLVERRNZLOOIRVWHUIXUWKHUFULWLFDOLQYHVWLJDWLRQVLQWKHSXEOLFDUFKDHRORJ\RIWKH(DUO\0LGGOH $JHVZKLFKHYDOXDWHRXUSUDFWLFHVDQGHQJDJHPHQWVLQDULJRURXVDQGV\VWHPDWLFIDVKLRQ FI$OPDQVD  :KLOHHDUO\PHGLHYDODUFKDHRORJLVWVKDYHORQJHQJDJHGLQWKHKLVWRULRJUDSK\DQGWKHRUHWLFDO IUDPHZRUNVRIWKHLUVWXG\ZHFRQWHQGWKDWWKH\KDYHQHJOHFWHGSXEOLFDUFKDHRORJ\DVLQWHJUDOWRWKHLU ZRUN:HVKRXOGEHORQJSDVWUHJDUGLQJSXEOLFHQJDJHPHQWDQGLWVHYDOXDWLRQDV¶H[WUDV·WRRXUUHVHDUFK VHH)ODWPDQ OHWDORQHUHJDUGLQJ¶RXWUHDFK·VLPSO\DVDQDYHQXHIRUIXQGLQJ $OPDQVD  Instead, a critical and robust public archaeology should be seen as central to all our research endeavours, ZKHWKHUZHDUHHQJDJLQJZLWKÀHOGZRUNLQYROYLQJFRPPXQLW\SDUWLFLSDWLRQGLVFXVVLQJHDUO\PHGLHYDO DUFKDHRORJ\LQVFKRROVHYDOXDWLQJWKH'DUN$JHGLPHQVLRQVRIYLGHRJDPHVDQGRWKHUHQWHUWDLQPHQW YHQXHVRUHQJDJLQJRQVRFLDOPHGLDDERXWPHGLHYDOPDWWHUV6SDQQLQJGLIIHUHQWVFDOHVDQGFRQWUDVWLQJ FRPPXQLWLHVVFKRODUVKLSDQGSUDFWLFHZHZRXOGFRQWHQGWKDWWKHUHLVQRPRUHSUHVVLQJQHHGWRWDFNOH head-on the importance and hybridity of public archaeology than when dealing with the early medieval SHULRGDWLPHRILQWHUVHFWLQJSUHKLVWRULHVDQGKLVWRULHVFRPSOH[DQGÁXFWXDWLQJSHRSOHVSUDFWLFHVDQG LQVWLWXWLRQV7KLVRIFRXUVHLQYROYHVXQGHUVWDQGLQJKRZWKHHDUO\PHGLHYDOSDVWÀWVLQWREURDGHUPXOWL period discourses on past and place, but also a specialist understanding of the particular interdisciplinary and geographical and chronologically complex ways in which early medieval archaeology has special DQGGLVWLQFWLYHSRZHUIXODQGSUREOHPDWLFUHODWLRQVKLSVZLWKFRQWHPSRUDU\VRFLHW\

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)XUWKHUPRUHZKHWKHUWKHGLDORJXHZLWKWKH(DUO\0LGGOH$JHVLQYROYHVWRXFKVWRQHVRIIDLWKSROLWLFDO debates, or senses of community, place or identity, or challenging myths and fantasies about the past and WKHSUHVHQWWKHSXEOLFDUFKDHRORJ\RIWKH(DUO\0LGGOH$JHVVKRXOGEHPRUHLQFOXVLYHRIWUDGLWLRQDOO\ H[FOXGHGJURXSV7KXVUDWKHUWKDQDERXWVHUYLQJSUHH[LVWLQJQHHGVSXEOLFDUFKDHRORJLHVRIWKHHDUO\ PHGLHYDOSDVWPXVWFRQVWUXFWQHZUHODWLRQVKLSVEHWZHHQSDVWDQGSUHVHQW VHH%HOIRUG 7RGR this, we must operate as public intellectuals, straying outside our niche disciplinary expertise to debate KRZWKHSDVWLVSUHVHQWHGDQGGLVFXVVHGLQFRQWHPSRUDU\VRFLHW\DQGWKHPHVOLQNLQJSDVWSUHVHQWDQG IXWXUH FI7DUORZDQG1LOVVRQ6WXW] 0RUHRYHUZHPXVWWDNHXSWKHFKDOOHQJH UHFHQWO\VNHWFKHG E\*RQ]iOH]5XLEDOet al.  RIHQVXULQJRXUDUFKDHRORJLFDOUHVHDUFKDQGSUDFWLFHSURYRNHVrather WKDQVLPSO\ÁDWWHUVSHRSOHteaches them rather than indulges their fantasies, and an archaeology that HVFDSHVWKH¶KHULWDJHFUXVDGH· to explore the many intersections and meanings of archaeology in the FRQWHPSRUDU\ZRUOG,QWKLVUHJDUGWKHSXEOLFDUFKDHRORJ\RIWKH¶'DUN$JHV·VKRXOGEHGLVWXUELQJ DQGFKDOOHQJLQJRIVWHUHRW\SHVDQGWKHVWDWXVTXRQRWFRPIRUWLQJDQGDVVXULQJ,WVKRXOGLQYROYHD YDULHW\RIPHWKRGVWRSURYLGH¶WKLFN·DQGULFKHQJDJHPHQWZLWKDUFKDHRORJLFDOLQWHUSUHWDWLRQVXVLQJ QHZPHWKRGVDQGWHFKQLTXHV)LQDOO\LWVKRXOGH[WHQGLWVIRFXVIURPWKHSUHVHUYDWLRQDQGPDQDJHPHQW RIÀ[HGDQGYDOXHGUHVRXUFHVWRFRQVLGHUWKHFRQVWDQWO\HYROYLQJPDWHULDOZRUOGVRILPDJLQHG'DUN $JHVWKXVUREXVWO\HYDOXDWHWKHLUVLJQLÀFDQFHLQFRQWHPSRUDU\VRFLHW\

Conclusion

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Acknowledgements

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$OPDQVD6iQFKH]-1HZSDWKVIRUWKHIXWXUHRISXEOLFDUFKDHRORJ\"CPAG ² $VKE\630RUHWKDQEORRGDQGEOLQJRXUPDQ\YLVLRQVRIWKH9LNLQJVThe Conversation, 0DUFK https://theconversation.com/more-than-blood-and-bling-our-many-visions-of-the-vikings-23791 $VKE\63DQG-6FKRÀHOG¶+ROGWKHKHDWKHQKDPPHUKLJK·UHSUHVHQWDWLRQUHHQDFWPHQWDQG WKHFRQVWUXFWLRQRI¶3DJDQ·KHULWDJH,QWHUQDWLRQDO-RXUQDORI+HULWDJH6WXGLHV  ² %HOIRUG36XVWDLQDELOLW\LQFRPPXQLW\DUFKDHRORJ\$32QOLQH-RXUQDOLQ3XEOLF$UFKDHRORJ\Special 9ROXPH² %RQDFFKL & 0 $OWDZHHN DQG 0 .U]\]DQVND  7KH KHULWDJH RI %UH[LW UROHV RI WKH SDVW LQ WKH FRQVWUXFWLRQRISROLWLFDOLGHQWLWLHVWKURXJKVRFLDOPHGLD-RXUQDORI6RFLDO$UFKDHRORJ\  ² %RRWK 7  ([SORULQJ \RXU LQQHU +DGHV '1$ DV PRUWXDU\ DUFKDHRORJ\ 2QOLQH -RXUQDO LQ 3XEOLF Archaeology   6SHFLDO9ROXPH² %URSK\.7KH%UH[LWK\SRWKHVLVDQGSUHKLVWRU\Antiquity ² &DPSEHOO- HG The Anglo-Saxons. /RQGRQ3HQJXLQ &DUYHU0Formative Britain. An Archaeology of Britain, Fifth to Eleventh Century AD. /RQGRQ5RXWOHGJH &RQWHQW6DQG+:LOOLDPV&UHDWLQJWKH3DJDQ(QJOLVKLQ0&DUYHU$6DQPDUNDQG66HPSOH HGV 6LJQDOVRI%HOLHILQ(DUO\(QJODQG$QJOR6D[RQ3DJDQLVP5HYLVLWHG ²2[IRUG2[ERZ &RSSOHVWRQH7-'HVLJQLQJDQGGHYHORSLQJDSOD\IXOSDVWLQYLGHRJDPHVLQ$$$0RO&($ULHVH 9DQGHPHXOHEURFNH.+-%RRPDQG$3ROLWSRSRXORV HGV The Interactive Past²/HLGHQ6LGHVWRQH3UHVV 'DOH5)URPEDUEDULDQWREUDQGWKH9LNLQJVDVDPDUNHWLQJWRROLQ7%LUNHWWDQG5'DOH HGV  7KH9LNLQJV5HLPDJLQHG5HFHSWLRQ5HFRYHU\(QJDJHPHQW²%HUOLQ'H*UX\WHU 'RZQKDP&9LNLQJVZHUHQHYHUWKHSXUHEUHGPDVWHUUDFHZKLWHVXSUHPDFLVWVOLNHWRSRUWUD\ The Conversation,  6HSWHPEHU KWWSVWKHFRQYHUVDWLRQFRPYLNLQJVZHUHQHYHUWKHSXUHEUHG PDVWHUUDFHZKLWHVXSUHPDFLVWVOLNHWRSRUWUD\ (IIURV %  Merovingian Mortuary Archaeology and the Making of the Early Middle Ages. %HUNHOH\ 8QLYHUVLW\RI&DOLIRUQLD3UHVV (IIURV%8QFRYHULQJWKH*HUPDQLF3DVW0HURYLQJLDQ$UFKDHRORJ\LQ)UDQFHV²2[IRUG2[IRUG 8QLYHUVLW\3UHVV (OOLRWW$%50HGLHYDOLVP3ROLWLFVDQG0DVV0HGLD$SSURSULDWLQJWKH0LGGOH$JHVLQWKH7ZHQW\)LUVW Century.:RRGEULGJH%R\GHOO (YDQV6DQG+:LOOLDPV'HDWK·VGLYHUVLW\WKHFDVHRI/ODQJROOHQ0XVHXPLQ+:LOOLDPV%:LOOV (YHDQG-2VERUQHDQG HGV The Public Archaeology of Death²6KHIÀHOG(TXLQR[ )DXONQHU1$UFKDHRORJ\IURPEHORZPublic Archaeology   ² )ODWPDQ-&RQFOXVLRQWKHFRQWHPSRUDU\UHOHYDQFHRIDUFKDHRORJ\²DUFKDHRORJ\DQGWKHUHDO ZRUOG"LQ05RFNPDQDQG-)ODWPDQ HGV $UFKDHRORJ\LQ6RFLHW\,WV5HOHYDQFHLQWKH0RGHUQ:RUOG² 1HZ

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